Vol 1
The EMI Years, Vol. 1: 1957-1960
Before coming to prominence as a soundtrack composer, Barry performed (mostly) instrumental pop music aimed at the general market, with reasonable commercial success. This gathers a whopping 37 tracks from 1957-60 on a single disc (songs were shorter then!), and show Barry coming to grips with pop and rock trends with various degrees of effectiveness, as well as showing flashes of the trademarks he would brandish in his soundtrack work. The early rock vocal tracks, like virtually all British attempts at rock in the '50s, suffer from a basic inability to truly get into the spirit of the thing, sounding like a very low-rent Bill Haley. Barry started to find his footing when he ditched the vocals and put the accent on twangy reverb guitars, reflecting the influence of Duane Eddy, the Shadows, and the Ventures. The moody instrumentals, sometimes featuring innovative pulsating guitar lines, worked the best, sounding a bit like soundtracks caught between the jazz and British Invasion eras. And of course Barry would eventually find his forte in the soundtrack arena. While admirably thorough, this retrospective is too erratic for the general listener; a selection of the best half would have been much more judicious.
Tracklist
–John Barry And The Seven* Let's Have A Wonderful Time
–John Barry And The Seven* Rock-A-Billy-Boogie
–John Barry And The Seven* Zip Zip
–John Barry And The Seven* Three Little Fishes (U.S. Version)
–The John Barry Seven Every Which Way
–The John Barry Seven You've Gotta Way
–The John Barry Seven Big Guitar
–The John Barry Seven Rodeo
–The John Barry Seven With Latin American Rhythm Accompaniment Pancho
–The John Barry Seven With Latin American Rhythm Accompaniment Hideaway
–The John Barry Seven Farrago
–The John Barry Seven Bees Knees
–The John Barry Seven When The Saints Go Marching In
–The John Barry Seven Pancho
–The John Barry Seven Long John
–The John Barry Seven Snap 'N' Whistle
–The John Barry Seven Little John
–The John Barry Seven For Pete's Sake
–The John Barry Seven And Bob Miller & The Millermen Bees Knees
–The John Barry Seven Little John
–The John Barry Seven Rebel Rouser
–The John Barry Seven Mab Mab
–The John Barry Seven And Bob Miller & The Millermen Good Rockin' Tonight
–The John Barry Seven Twelfth Street Rag
–The John Barry Seven Christella
–The John Barry Orchestra* Beat Girl (Main Title)
–The John Barry Seven Plus Four Hit & Miss
–The John Barry Seven Rockin' Already
–John Barry And His Orchestra* Beat For Beatniks
–John Barry And His Orchestra* Big Fella
–John Barry And His Orchestra* Blueberry Hill
–John Barry And His Orchestra* Never Let Go (From Film)
–John Barry And His Orchestra* Walk Don't Run
–The John Barry Seven I'm Movin On
–The John Barry Seven Saturday's Child
–The John Barry Seven With Accompaniment Directed By John Barry Black Stockings
–The John Barry Seven With Accompaniment Directed By John Barry Get Lost Jack Frost
Enjoy
Ty To Hector For the Share
sorry... i'm not George hahaha
ReplyDeleteThanks
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ReplyDeleteUP and going ... looks fine
ReplyDeletemaybe the story of WHO made the John Barry sound ?
Enlighten Dusty? Dunno what you mean?
DeleteVic Flick In 1957, the meeting of two musical minds was inevitable. Barry's invitation for him to join the John Barry Seven Five days after what was a successful debut, Flick made his first appearance on On Boy! as a member of the band. It was the first of many TV appearances.
ReplyDeleteThe guitar became a feature of the band's act and also their recordings for EMI' He has special memories of recording 'Hit And Miss', forever embedded in the minds of all who recall those times as the signature tune the BBC's Juke Box Jury. He also remembers the recording of 'Walk Don't Run', Barry was keen to produce a guitar sound completely different by the Ventures. Flick used a Bigsby tremolo arm attachment to sustain a distinctive vibrato effect. found itself in the Top Ten some weeks later
The recording of the John Barry album, Stringbeat, was another turning point in his career. Guitar featured prominently throughout the fifteen-track album " Soon he found himself heavily in demand to play on sessions for other artists
He is the distinctive guitarist you hear every time the original 'James Bond Theme' is played on radio, TV or in the cinema. He recorded it with John Barry's Orchestra at CTS Studios, Bayswater, London for the film and again a few weeks later at Abbey Road Studios, London for the hit single. This was in the summer of 1962.
His biography, Vic Flick, Guitarman, was published in August 2008.
His guitar sound was also heard on the theme to two long-running British TV programmes. Juke Box Jury (1959) for which the hit-single theme was 'Hit & Miss' composed by John Barry and Crossroads (1964), composed by Tony Hatch.
He plays solo guitar on 'This Boy' (Ringo's Theme'), heard in the film, En hård dags nat (1964).
Las Vegas, Nevada - publicizing his auto-biography: Vic Flick Guitarman. [August 2008]
Personal Quotes (1)
(About The James Bond Theme) Monty Norman made hundreds of thousands of pounds, John Barry made millions from the spin-off, I got seven pounds ten shillings for playing on it!
From John Barry, Burt Bacharach, Herman’s Hermits, Tom Jones, Henry Mancini, Jimmy Page, Cliff Richard, Diana Ross,Beatles, Nancy Sinatra and countless more legendary artists.
You name them .. he play on most of the 60's top hit records
Geez Ty Dusty lol didnt Expect that.
DeleteJohn Barry / Stringbeat LP
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Many thanks for Stringbeat
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